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1. Ping Poetics

   Sandy Baldwin investigates the manner in which a computer "ping trace" can be classified as a form of digital poetics, and discusses the underlying symbolic practices of both poesis and poetics that encompass coding and computation.

   Eric Dean Rasmussen - 21.09.2010 - 11:27

2. Textual Material in the Digital Medium

   Textual Material in the Digital Medium

   Eric Dean Rasmussen - 23.03.2011 - 14:31

3. Code.surface || Code.depth

   This essay begins by identifying a central idea in the critical discourse on code art and code poetry: code is a deep structure that instantiates a surface. The AP Project’s Jonathan Kemp and Martin Howse, for example, explain that their work makes “manifest underlying systematics,” that can make the digital “physical, audible and visible through geological computing.” In what sense, if at all, can we trace a computing operation down to a foundation, bottom, or core? Why do we maintain this cultural imaginary of code and how has it come into being? Moreover, how have the metaphors of software engineering – particularly the notion of structured layers and multitier architectures – been put to artistic use? The thematizing of layers, surfaces, and spatial metaphors has become quite intricate in new media writing practices, as I will demonstrate in a reading of “Lascaux.Symbol.ic,” one of Ted Warnell’s Poems by Nari, and recent projects by John Cayley, including Overboard and Translation.

   Rita Raley - 05.05.2011 - 16:06

4. The Monstrous Book and the Manufactured Body in the Late Age of Print

   The Monstrous Book and the Manufactured Body in the Late Age of Print: Material Strategies for Innovative Fiction in Shelley Jackson’s Patchwork Girl and Steve Tomasula’s VAS: An Opera in Flatland 

   Patricia Tomaszek - 06.05.2011 - 14:51

5. The Gravity of the Leaf: Phenomenologies of Literary Inscription in Media-Constituted Diegetic Worlds

   John Cayley reports on writing and the practice of literary art in the immersive 3D audio-visual environment of the Cave at Brown University, addressing the use of text-as-surface in a three-dimensional space. He develops a conception of new media as “complex surfaces” based on Cave writing courses to confront the relationship between language and embodiment, language and materiality—always attempting to develop a specific literary aesthetics.

   (Source: Beyond the Screen, introduction by Jörgen Schäfer and Peter Gendolla)

   Scott Rettberg - 23.05.2011 - 15:10

6. Inner Workings: Code and Representations of Interiority in New Media Poetics

   'Inner Workings' addresses itself to the methods, properties and practices of writing systems, including human writing systems, whose very signifiers are programmed. What does programmed signification tell us about the inner human writing machine? John Cayley's essay participates in relevant metacritical and metapsychological discussions - reexamining Freud's Mystic Writing Pad in particular - and is specifically sited within the context of debates on code and codework in literal art. Rather than revealed interiority, code is the archive and guarantee of inner workings than reside beneath the complex surfaces of poetics in programmable media.

   Patricia Tomaszek - 27.05.2011 - 23:29

7. Technotexuality: An Interview with N. Katherine Hayles and Anne Burdick

   Interview with the author and designer of Writing Machines.

   Patricia Tomaszek - 28.05.2011 - 01:08

8. Continuous Paper

   Work in progress, presented at the History of Material Texts workshop at the University of Pennsylvania 23 February 2004 (references therefore are omitted).

   Montfort investigates into human-computer interaction before the screen and questions "how early print-based interfaces inform our understanding of print and paper metaphors in current computer interfaces."

   Patricia Tomaszek - 20.01.2012 - 23:59

9. A Aura do Digital

   A Aura do Digital

   Luciana Gattass - 22.10.2012 - 17:32

10. The Monstrous Book and the Manufactured Body in the Late Age of Print: Material Strategies for Innovative Fiction in Shelley Jackson’s Patchwork Girl and Steve Tomasula’s Vas

    In recent decades a growing number of innovative writers have begun exploring the possibility of creating new literary forms through the use of digital technology. Yet literary production and reception does not occur in a vacuum. Print culture is five hundred years in the making, and thus new literary forms must contend with readers’ expectations and habits shaped by print. Shelley Jackson’s hyptertextual novel Patchwork Girl and Steve Tomasula’s innovative print novel Vas: An Opera in Flatland both problematize the conventions of how book and reader interact. In both works an enfolding occurs wherein the notion of the body and the book are taken in counterpoint and become productively confused. Jackson’s book, alluding to Mary Shelley’s Frankenstein, is about a monster composed of various bodies while the book itself is also a monstrous text: a nonlinear patchwork of links across networks of words and images.

    Audun Andreassen - 10.04.2013 - 13:12

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